DOCSLIB.ORG

Do Re Mi, 1 2 3 ~ by Mike Overly

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Do Re Mi, 1 2 3 ~ by Mike Overly Do Re Mi, 1 2 3 ~ by Mike Overly Simply stated, music is heard as sound and seen as symbol. The symbols are given names which may create confusion because sometimes a different name is given to the same symbol. This confusion also arises in relation to concepts, thoughts and ideas. For example, melody is created when sounds are connected together and then played one at a time. Melody is often mislabeled by bass players, but correctly identified by musicians playing bass. For example, a bass player will call playing a melody, lead bass, while a musician playing bass will correctly call it, melody bass. Here's another example, harmony is the result of more than one sound played at the same time. Confusion arises in this case because a bass player will call this, rhythm bass, while a musician playing bass will simply call it, harmony bass. The idea of lead bass may have started because generally speaking, melody leads. But the idea of rhythm bass doesn't make much sense, since melody also has rhythm. In this lesson, we’ll focus on melody and leave harmony for later. Let's begin by reviewing the major scale the way Julie Andrews sang it to us in the Sound of Music, you know, Doe, a deer a female deer; Ray, a drop of golden sun; Me, a name I call myself; Far, a long, long way to run; Sew, needle pulling thread; La, a note to follow sew; Tea, a drink with jam and bread… Wow, the hills really are alive! This do re mi fa so la ti method of symbolizing sound is known as Solfège. Solfège began in eleventh century Italy when Guido of Arezzo developed a six-note ascending scale that went: ut, re, mi, fa, sol, and la. Guido borrowed these syllables from the first verse of the Latin hymn: Ut Queant Laxis. Then, in 1600, Ut was changed to the open syllable Do, at the suggestion of Giovanni Battista Doni. A seventh syllable, si, was added soon after from the initials for Sancte Iohannes [Saint John] to complete the seven tone diatonic scale. By the nineteenth century, Anglo-Saxon countries had changed si to ti so that every syllable began with a different letter. It's interesting to note that Isaac Newton associated the 7 solfège syllables with the 7 colors of the rainbow and theorized that each color vibrated accordingly. Thus, red [the lowest sound] has the least amount of vibration while purple [the highest sound] vibrates the most. In other words, he believed this: C do Red; D re Orange; E mi Yellow; F fa Green; G so Blue; A la Indigo [Blue Violet] and B ti Purple [Red Violet]. Okay, now, let's covert the solfège syllables into scale degree numbers or simply, tone numbers. In this transformation, Do becomes tone 1, Re becomes tone 2, Me is tone 3, Fa tone 4, So tone 5, La tone 6 and Ti tone 7. This simple tone number symbolization forms the basis of the Tone Note® Music Method for Bass [coming Summer 2012]. In other words, by learning only seven tone numbers on your bass, you may begin playing many songs. Tone Note® makes music and bass so easy! Practically speaking, there really are no songs to be played with only one tone number, tone 1. And there really aren't any songs to be played with only two tones, tone 1 and tone 2. However, as soon as the third tone is added, tone 3, then, like magic, there are many songs that may be "spelled" with tone numbers and then played. Let's begin with a simple song, Merrily We Roll Along. Merrily may be played on the bass by using only three tone numbers, tone 1, tone 2 and tone 3. At this point, there is really no need to learn how to read and understand the rhythm symbols of music, notes. This is because you already know how to sing this song and therefore you can "imitate" its rhythm. 3 2 1 2 3 3 3 2 2 2 3 3 3 Mer- ri- ly we roll a- long, roll a- long, roll a- long. 3 2 1 2 3 3 3 2 2 3 2 1 Mer- ri- ly we roll a- long, o- ver deep blue seas. By adding one more tone, tone 4, we can play other songs. Here is a favorite Mother Goose song, Old King Cole. This song uses four tone numbers, tone 1, tone 2, tone 3 and tone 4. Remember, if you already know the song you can imitate the rhythm, however, if you don't already know this song, then you would have to begin learning notes, the rhythmic duration symbol of music. 1 1 2 2 2 3 3 3 4 4 4 Old King Cole was a mer- ry old soul and a 3 3 3 2 2 1 1 1 1 1 2 2 2 Mer- ry old soul was he. He called for his pipe and he 3 3 3 4 4 4 3 3 3 2 2 1 called for his bowl and he called for his fid - dlers three. With the addition of tone 5, many more songs are possible. Here is one of them, Mary Had a Little Lamb. It's important to note that Mary only uses four tone numbers, tone 1, tone 2, tone 3 and tone 5. She doesn't use tone 4. This is just like spelling words in English, not all words contain all 26 letters. In fact, no one word contains all 26 letters! You probably already know Mary Had a Little Lamb and therefore can imitate her rhythm. Notice how similar Mary is to Merrily We Roll Along… there is only a one tone difference! 3 2 1 2 3 3 3 2 2 2 3 5 5 Mar -y had a lit -tle lamb, lit -tle lamb, lit -tle lamb. 3 2 1 2 3 3 3 3 2 2 3 2 1 Mar -y had a lit -tle lamb, its fleece was white as snow. I found this interesting and perhaps you will too. The reason there are no 26 letter words in the dictionary is because the usual rules of English spelling outlaw consecutive triple letters. We put hyphens in words that contain three of the same letters in a row, so as to separate the letters. For example: bee- eater, bell-like, cross-section, cross-subsidize, shell-less and joss-stick [incense]. A person who flees is a fleer, not a fleeer, and someone who sees is a seer, not a seeer. Chaffinches used to be called chaff finches, but when the two words were merged, one of the letter 'f's was dropped. It should be noted that written representations of noises often contain triple letters, such as brrr, shhh, and zzz, but they don't really count as proper words. Too bad! Let's continue. By adding tone 6, we can play Twinkle, Twinkle Little Star. Again, you probably already know this song and therefore can imitate the rhythm. Notice that Twinkle uses all six tone numbers, tone 1, tone 2, tone 3, tone 4, tone 5 and tone 6. 1 1 5 5 6 6 5 4 4 3 3 2 2 1 Twink-le, Twink-le Litt-le Star, How I won-der what you are. 5 5 4 4 3 3 2 5 5 4 4 3 3 2 Up a -bove the World so high, like a dia-mond in the Sky. 1 1 5 5 6 6 5 4 4 3 3 2 2 1 Twink-le, Twink-le Litt-le Star, How I won-der what you are. We'll end this lesson by adding tone 7. By adding this final tone number of the major scale we can now play Jack Be Nimble. This song may be buried deep in your nursery school mind, so, once again, just like Old King Cole, you may have to learn the notes of rhythm. Notice that Jack uses all seven tone numbers, tone 1, tone 2, tone 3, tone 4, tone 5, tone 6 and tone 7. 1 3 2 4 3 5 4 Jack, be nim - ble, Jack, be quick. 3 5 4 5 6 5 7 1 Jack, jump o - ver the can - dle stick. It is my hope that this lesson has shown you how simple and easy music really is. Now, by continuing in this progressive step-by-step manner, from the beginning toward the end, I'm sure you'll realize that with patience and practice, you will be able to play and enjoy music, and your bass, at every stage of your life. 'Til next time, have some Tone Note® Music Method fun... I'll be listening! ============================================================ Globally-renowned guitar and bass instructor, Mike Overly easily combines the worlds of deeply-rooted academic study with a well-textured performance resume. His pathbreaking 12 Tone Music Publishing products, including the newly released Tone Note® Music Method for Guitar, provide valuable illuminating insights while simplifying the learning process. Join Mike at www.12tonemusic.com to explore and expand your knowledge of these two iconic instruments through a variety of reviews and interviews, tips and tricks and free lessons of remarkable originality, all presented in a family-friendly forum. Plus, as an added bonus, you get to follow Mr. Pick as he introduces you to fun fretboard games, jokes, riddles, quotes and more. Be sure to read the 12 Tone Music Blog where Mike offers a behind-the-scenes look at the development of his unique approach to solving the problems of modern musical notation and traditional guitar and bass methods.
Load more

Recommended publications
  • Nativity of St John the Baptist, 24Th June 2018 How Many Times Do You
    Nativity of St John the Baptist, 24th June 2018 How many times do you reckon the name of St John the Baptist appears at Mass, normally? I say “normally”, because obviously today he gets bit more of a mention. Well, if we start from the start, we find his name twice in the list of saints from the priest‟s Confiteor: “Confiteor […] beato Ioanni Baptistae (I confess […] to blessed John the Baptist)”, and then “precor […] beatum Ioannem Baptistam (I beseech […] blessed John the Baptist)”. This is subsequently repeated in the Confiteor of the servers: St John is therefore mentioned four times at the beginning of Mass. We have to go further on, passed where we are at the moment, the homily or sermon, deep into the Offertory, and there we again encounter his name, this time in the prayer, “Suscipe, sancta Trinitas (Receive, O Holy Trinity)”, after the priest has washed his hands and returned to the centre of the altar: “Suscipe, sancta Trinitas, hanc oblationem, quam tibi offerimus (Receive, O Holy Trinity, this oblation which we offer unto thee) […] in honorem […] beati Ioannis Baptistae (in honour […] of blessed John the Baptist)”. To keep count: that is now five times. Then in the Canon of the Mass, in the list of saints after the Consecration, John the Baptist actually heads the list: “partem aliquam, et societatem donare digneris (graciously grant some share and fellowship), cum tuis sanctis Apostolis et Martyribus: cum Ioanne (with thy holy Apostles and Martyrs: with John)”. That is the sixth time. Lastly, St John the Baptist makes an appearance in the Last Gospel: “Fuit homo missus a Deo, cui nomen erat Ioannes (There was a man sent from God, whose name was John)” (Jn 1:6).
    [Show full text]
  • Music and Science from Leonardo to Galileo International Conference 13-15 November 2020 Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca
    MUSIC AND SCIENCE FROM LEONARDO TO GALILEO International Conference 13-15 November 2020 Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Keynote Speakers: VICTOR COELHO (Boston University) RUDOLF RASCH (Utrecht University) The present conference has been made possibile with the friendly support of the CENTRO STUDI OPERA OMNIA LUIGI BOCCHERINI www.luigiboccherini.org INTERNATIONAL CONFERENCE MUSIC AND SCIENCE FROM LEONARDO TO GALILEO Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Virtual conference 13-15 November 2020 Programme Committee: VICTOR COELHO (Boston University) ROBERTO ILLIANO (Centro Studi Opera Omnia Luigi Boccherini) FULVIA MORABITO (Centro Studi Opera Omnia Luigi Boccherini) RUDOLF RASCH (Utrecht University) MASSIMILIANO SALA (Centro Studi Opera Omnia Luigi Boccherini) ef Keynote Speakers: VICTOR COELHO (Boston University) RUDOLF RASCH (Utrecht University) FRIDAY 13 NOVEMBER 14.45-15.00 Opening • FULVIA MORABITO (Centro Studi Opera Omnia Luigi Boccherini) 15.00-16.00 Keynote Speaker 1: • VICTOR COELHO (Boston University), In the Name of the Father: Vincenzo Galilei as Historian and Critic ef 16.15-18.15 The Galileo Family (Chair: Victor Coelho, Boston University) • ADAM FIX (University of Minnesota), «Esperienza», Teacher of All Things: Vincenzo Galilei’s Music as Artisanal Epistemology • ROBERTA VIDIC (Hochschule für Musik und Theater Hamburg), Galilei and the ‘Radicalization’ of the Italian and German Music Theory • DANIEL MARTÍN SÁEZ (Universidad Autónoma de Madrid), The Galileo Affair through
    [Show full text]
  • Western Culture Has Roots in Ancient
    3 13. What happened in 395, 476, 1054, 1453? Chapter 2 Division (Milan, Rome) and (Byzantium, Constantinople, The Christian Church in the First Millennium Istanbul); fall of Rome; Roman Catholic Church and Byzantine Church split; fall of Constantinople. East 1. (22) How is the history of music in medieval Europe under the control of the emperor; in the west a bishop intertwined with the history of the Christian church? assumed authority Notation and polyphony developed within church music; schools were church; composers and theorists were 14. (26) SR: What two things did singing of psalms trained there; notation preserved the music of the church accomplish for St. Basil? Taught doctrine; softens an angry spirit 2. (23) What was the deal about Christianity before 313? OK as long as worship Roman gods and emperors; Christians 15. SR: What was Augustine's dilemma and justification? had only one god and tried to convert others. Deeply moved but was also pleasurable; weaker souls would benefit more 3. What did the Edict of Milan do? Legalized Christianity and church own property 16. (27) SR: Who was Egeria? What texts were sung? Any ethos going on? What service was it? 4. What happened in 392? Spanish nun on pilgrimage to Jerusalem; psalms; people wept Christianity is the official religion; all others suppressed when gospel was read; Matins except Judaism 17. What is the language of the Catholic Church? 5. What's the connection between Christian observances Byzantine? TQ: Old Testament? New Testament? and Jewish traditions? Latin, Greek, Hebrew, Greek Chanting of Scripture and singing of psalms 18.
    [Show full text]
  • Pietro Aaron on Musica Plana: a Translation and Commentary on Book I of the Libri Tres De Institutione Harmonica (1516)
    Pietro Aaron on musica plana: A Translation and Commentary on Book I of the Libri tres de institutione harmonica (1516) Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Joseph Bester, B.A., M.A. Graduate Program in Music The Ohio State University 2013 Dissertation Committee: Graeme M. Boone, Advisor Charles Atkinson Burdette Green Copyright by Matthew Joseph Bester 2013 Abstract Historians of music theory long have recognized the importance of the sixteenth- century Florentine theorist Pietro Aaron for his influential vernacular treatises on practical matters concerning polyphony, most notably his Toscanello in musica (Venice, 1523) and his Trattato della natura et cognitione de tutti gli tuoni di canto figurato (Venice, 1525). Less often discussed is Aaron’s treatment of plainsong, the most complete statement of which occurs in the opening book of his first published treatise, the Libri tres de institutione harmonica (Bologna, 1516). The present dissertation aims to assess and contextualize Aaron’s perspective on the subject with a translation and commentary on the first book of the De institutione harmonica. The extensive commentary endeavors to situate Aaron’s treatment of plainsong more concretely within the history of music theory, with particular focus on some of the most prominent treatises that were circulating in the decades prior to the publication of the De institutione harmonica. This includes works by such well-known theorists as Marchetto da Padova, Johannes Tinctoris, and Franchinus Gaffurius, but equally significant are certain lesser-known practical works on the topic of plainsong from around the turn of the century, some of which are in the vernacular Italian, including Bonaventura da Brescia’s Breviloquium musicale (1497), the anonymous Compendium musices (1499), and the anonymous Quaestiones et solutiones (c.1500).
    [Show full text]
  • UT QUEANT LAXIS RESONARE FIBRIS Hymn for St
    HYMN : UT QUEANT LAXIS RESONARE FIBRIS Hymn for St. John the Baptist, June 24 ! Hinc=-010=-== pa-rens,3==%======’ na-ti0==’#' =’-+-=’’ mé-ri-tis,14==0==1==-- u-térque5=-=1===-16==+=’ Abdi-7=-’’8 ’=-ta"=’’=- pandit.)===-#'=---:’-9 HYMN II. T que-ant laxis re-soná-re fibris. Mi-ra gestó- rum U !’="====#$==’%====-&==#'=-+=‘#$==-#==‘"(==#==-)===)*==;=--)+,=’)===’#==--=--’#'==+’. !5.=- Antra"====#$===- desérti%=-&==-#' =-+=‘ téne-ris#$==#=="(==== sub#===’ annis,)===-)*==;=-’ Cí-vi-)+,=’’)=’- um#=-===‘ turmas-==--’#'=-’-+=‘- fú-%/-=-= ! fámu-li=%/==-0==1 ==- tu-ó-rum,0=-2=-’#'’==-|==- Sol-ve010=-‘3 ==pollú-ti%==0==#'=-+- lá-bi-i14==-0=1 ==- re-á-tum,5=-1==16===-+== Sancte7===‘8’=9 ! =-gi-0=- ens,1==-===’’ petí-sti,0=-2=-’#'’=|==- Ne010 =-‘ le-vi3=-% === posses0==-’#'=--+-=- maculá-re14=--0=-1==5=-=’ vitam1=-16=-=+==-’ Crimi-7=’‘8’=9 ! Jo-ánnes.="=’’)===#'=--=- :2.===- Núnti-"===#$== us%=-==- celso&==-#'=-+=‘ vé-ni-#$==-#== ens"(====- Ol#==!)mpo,====)*==;=- Te)+, =’= patri)=’=-#=-’; ! ne="=’’= linguae.)====#'=--=- :6.Praebu-===-="==-#$== %it=-==- durum&==#'=-=+=‘ tegumen#$==#==-’"(=-==- camelus#===)=-)*=’-;=- Artubus)+,=-)--=#=--’; ! magnum=---=--’#'===+=’- fo-re%/==0===- nasci-tú-rum,1==-0=--2=-’-#'’==--|==-’’ No-men010=-‘3==’’’ et%===-’ vi-tae0=-’’-#'=-’+-=-’ sé-ri-14==-0==- em1==-’ . ! sa-cris,=--=--’#'=-’+=’-=-’ stróphi-%/===0==’ um1==-==’ bi-déntes0=---2=-’’#'’=-|-’’== Cui010 =-‘la-3 =-tex%===-’= haustum,0=-’’-==#'=--’-’+-= soci-14=-0=-’ á-1--’’. ! ge-réndae=-’5=--’1====16=-+= Ordi-ne7==8’=-" =’’==’ promit.)==-#'=--- :3.=-’ Il-le"=-’-’#$====
    [Show full text]
  • Or How to Succeed in Society and Fail in the Republic of Letters by David
    Campanella In Paris: Or How to Succeed in Society And Fail in the Republic of Letters by David Allen Duncan In 1623, Marin Mersenne (1588-1648) published the Quaestiones in Genesim, a massive book devoted to religion, natural philosophy, music, and numerous other subjects. Anxious to stake out the borders of religious orthodoxy and to define the frontiers of natural philosophy, Mersenne attacked those ideas and thinkers that crossed those boundaries. Chief among the trespassers Mersenne included the neoplatonic naturalism (especially animism and the doctrine of the world soul) of Giordano Bruno, Bernadino Telesio, and Tommaso Campanella (1568-1639). As the Church had never condemned naturalism as heretical, Mersenne hesitated to take such a step instead; he belittled its modern theorists on mainly rational grounds (Quaestiones cols 937-942; Correspondance 1: 63-64, 122-123, editor's notes). With Campanella he was especially punishing. The writings of Campanella (De sensu rerum et magi a in particular), Mersenne remarked with the corrosive rhetoric typical of his earliest books, deserved to be burned (Quaestiones col. 464). As Mersenne must have known, Campanella had only narrowly avoided being burned himself. A lifelong figure of controversy, Campanella, a Dominican from Calabria, had repudiated the philosophy of Aristotle, adopting Telesio's naturalism (from De rerum natura of 1570) in its place as the binding of an eclectic philosophy of magic, empiricism, and protoexperimentalism. Earlier than most scholars, he also advanced Copernicus and Galileo, and in defense of the latter, he wrote Apologia pro Galileo1 a gesture that Galileo neither needed nor wanted from one so powerless and suspect (Redondi 40).
    [Show full text]
  • Liber Hymnorum. the Latin Hymns of the Lutheran Church
    !"#$!" % $&'()*'$!" +, -'$$.!/ 0'&1!& 6)$ !"#$#5( !--'(2!* 3&!)) 45&$ /',(!, #( CONTENTS Page Hymn CALENDAR, OR TABLE OF FIXED FEASTS xi TABLE OF HYMN ASSIGNMENTS 7eir Yearly Course xii Proper & Common of Saints xiv HYMNS IN ENGLISH #. 7e Daily O8ce [9] 9 ##. Times & Seasons [:9] ;< ###. Church Dedication [=>] =< #1. Proper of Saints [?@] == 1. Common of Saints [>=] @A 1#. Hymns of the Procession & Mass [99:] >9 1##. Additional Songs & Chants [9;:] >= 1###. Spiritual Songs [9:>] 9BA HYMNS IN LATIN #. 7e Daily O8ce [9=:] 9 ##. Times & Seasons [9@>] ;< ###. Church Dedication [;99] =< #1. Proper of Saints [;9=] == 1. Common of Saints [;<=] @A 1#. Hymns of the Procession & Mass [;?9] >9 1##. Additional Songs & Chants [;@:] >= 1###. Spiritual Songs [;A@] 9BA INDICES #. First Lines with Hymn Number & Author [;>@] ##. Authors with Hymn Numbers [:B9] ###. First Lines with Melody Numbers [:B:] #1. Comparison of the Melodies among the Sources [:B=] THE HYMNS IN THEIR YEARLY COURSE Numbers refer to the same hymn in both the English & the Latin sections. THE DAILY OFFICE From the Octave of Epiphany to Invocavit; from Trinity Sunday to Advent. Hymn Hymn Compl. Te lucis ante terminum . 9 On Saturdays a!er the Su%rages may be Matins Nocte surgentes. ;–: sung the hymn Serva Deus verbum tuum . >= Te Deum . ;: Ferial Vespers— Lauds Ecce jam noctis . < Sun. Lucis Creator optime. >–9B or Nocte surgentes. ;–: Mon. Immense cæli Conditor . 99–9; Prime Jam lucis ordo sidere. .= Tues. Telluris ingens Conditor. 9:–9< Terce Nunc sancte nobis Spiritus . .? Wed. Cæli Deus sanctissime . 9=–9? Sext Rector potens verax Deus . .@ 7ur. Magnæ Deus potentiæ. 9@–9A None Rerum Deus tenax vigor. .A Fri.
    [Show full text]
  • Giovanni Battista Doni (1594- 1647) and the Dispute on Roman Air
    Wholesome or Pestilential? Giovanni Battista Doni (1594- 1647) and the Dispute on Roman Air 1. Introduction In the early modern period, environmental discourse pervaded multiple disciplinary fields, from medicine to literature, from political thought to natural philosophy. It was also fraught with tensions and precarious negotiations between tradition and innovation, as ancient authorities were read and reinterpreted through the lens of new conceptual frameworks. This article draws attention to the divided and divisive nature of early modern environmental discourse by focusing on a specific case study: the dispute over the (alleged) insalubrity of Roman air that took place in Italy from the late sixteenth century to the early eighteenth century, reactivating, as we shall see, ancient controversies on the same topic. Within a span of about a century and a half, such a dispute generated a number of Latin and vernacular writings, authored by some of the most respected physicians and intellectuals of the time.1 With the exception of Giovanni Battista Doni (1594-1647), a Florentine nobleman and polymath best known for his musicological studies,2 all of the authors involved in this dispute were Roman-based physicians, often connected to each other by demonstrable personal ties. For instance, the Veronese Marsilio Cagnati (1543-1612) studied at the Roman school of Alessandro Traiano Petronio (?-1585), and referred to his master’s work frequently, though critically, in his treatise of 1599; Tommaso De Neri (c. 1560-?), from Tivoli (near Rome),
    [Show full text]
  • Guido of Arezzo and His Influence on Music Learning
    Musical Offerings Volume 3 Number 1 Spring 2012 Article 4 2012 Guido of Arezzo and His Influence on Music Learning Anna J. Reisenweaver Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the Musicology Commons, Music Pedagogy Commons, and the Music Practice Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Reisenweaver, Anna J. (2012) "Guido of Arezzo and His Influence on Music Learning," Musical Offerings: Vol. 3 : No. 1 , Article 4. DOI: 10.15385/jmo.2012.3.1.4 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol3/iss1/4 Guido of Arezzo and His Influence on Music Learning Document Type Article Abstract Throughout the history of Western music, Guido of Arezzo stands out as one of the most influential theorists and pedagogues of the Middle Ages. His developments of the hexachord system, solmization syllables, and music notation revolutionized the teaching and learning of music during his time and laid the foundation for our modern system of music. While previous theorists were interested in the philosophical and mathematical nature of music, Guido’s desire to aid singers in the learning process was practical.
    [Show full text]
  • Giovanni Battista Doni and His Vision of Performing Poetry*
    Min-Ad: Israel Studies in Musicology Online, Vol. 13, 2015-16 Elena Abramov-van Rijk - Giovanni Battista Doni and his Vision of Performing Poetry Giovanni Battista Doni and his Vision of Performing Poetry* ELENA ABRAMOV-VAN RIJK Figure 1 Vincenzo Franceschini (1695–after 1770), Portrait of Giovanni Battista Doni, etching.1 * This research was presented at the annual conference of the Renaissance Society of America on 26-28 March 2015 in Berlin. I am grateful to Bonnie Blackburn and Dorothea Baumann for their help. 1 Illustration from Io. Baptistae Doni Patrici Florentini Lyra Barberina amphichordos, Vol. 1, ed. Anton Francesco Gori & Giovanni Battista Passeri (Florence: Stamperia Imperiale, 1763). 35 Min-Ad: Israel Studies in Musicology Online, Vol. 13, 2015-16 Elena Abramov-van Rijk - Giovanni Battista Doni and his Vision of Performing Poetry Foreword Although I missed the chance to be a student of Professor Judith Cohen, since I entered the Israeli musicological world at relatively late stage, I can thank her for being an important figure in the development of my musicological interests. As one of the expert readers of my doctoral thesis, in which I had not intended to move too far beyond my favorite topic of the Italian Trecento, Judith Cohen encouraged me to go deeper into the studies of the phenomenon of reciting verses up to its end in the early seventeenth century. Not least, due to her astute and challenging questions, my dissertation, and—to a greater extent its published version—was enriched with a chapter giving a short survey of Cinquecento literary theory regarding the practice of performing poetry.
    [Show full text]
  • Infunde Amorem Cordibus: an Early 16Th-Century Polyphonic Hymn Cycle from Seville
    Juan Ruiz Jime´nez Infunde amorem cordibus: an early 16th-century polyphonic hymn cycle from Seville he manuscript Tarazona Cathedral 2–3 has from 1482 and chapelmaster from 1491, a position Treceived a good deal of attention from eminent he held until 1497. His name reappears in docu- scholars over the last half century. While they have ments from 1503 until his death in September 1504. differed in their findings as to its dating and proven- The identification of Pedro de Porto and Pedro de ance, they have been unanimous in concluding that Escobar remains to be clarified, but only the name it is the most important surviving source for sacred Escobar appears in Seville during the time he music from the time of the Catholic Monarchs, was chapelmaster there (1507–14), and this was 1 7 Ferdinand and Isabella. I have studied the dating how he signed his name ( illus.1). The third and of the manuscript elsewhere, and proposed a Sevil- most prominent composer in Tarazona Cathedral 2 lian origin for it, but here I shall concentrate on 2–3, as well as in the hymn cycle, is Francisco de one important aspect: the cycle of polyphonic Pen˜alosa. hymn settings included in it (see table 1). Indeed, My recent research in the cathedral archives has it was this cycle that first drew attention to the shown that Pen˜alosa was present in Seville more manuscript through the study and edition by often than has been thought, since he was obliged 3 Rudolf Gerber. The Tarazona cycle has since been to reside there in order to obtain the income from studied in the broader context of the hymn cycle the benefices he held at the cathedral.
    [Show full text]
  • Instead of Microtonality the Theory and Practice of Sixteenth- and Seventeenth-Century “Microtonal” Music Martin Kirnbauer University of Basel
    Chapter Three “Vieltönigkeit” instead of Microtonality The Theory and Practice of Sixteenth- and Seventeenth-Century “Microtonal” Music Martin Kirnbauer University of Basel Preliminary remark: this text stems from a lecture given in June 2011 at the conference Mikrotonalität—Praxis & Utopie (Microtonality—Praxis and Utopia), which took place at the Staatliche Hochschule für Musik und Darstellende Kunst in Stuttgart; this, in turn, was based upon my contribution to the 2011 International Orpheus Academy, “‘Vieltönige Musik’—Performance Practice of Chromatic and Enharmonic Music in the 16th and 17th Centuries.” Both events featured performances of a number of the music examples by Johannes Keller on a “cimbalo cromatico”—that is, a harpsichord with twenty-four keys to the octave— accompanied by the soprano Gunhild Lang-Alsvik and the violinist Eva Saladin.1 “Microtones” and “microtonality”—both the words themselves and the con- cepts behind them —are a phenomenon of recent music history, as a brief glance in a music dictionary demonstrates: the 1967 Riemann Musik-Lexikon does not recognise the term, for example, and “Mikrotöne” only appears in the first edition of Bärenreiter’s Musik in Geschichte und Gegenwart as a translation of the English term “microtones” (in reference to the works of Edgard Varèse, among others). In contrast, the New Grove (2001) has a whole article on the term; although this includes a pragmatic definition (“Any musical interval or differ- ence of pitch distinctly smaller than a semitone”), it also suggests that the use of microtones in Western art music is above all a phenomenon of the twentieth century (with reference to composers such as Julián Carrillo, Alois Hába, and Charles Ives) (Griffiths, Lindley, and Zannos 2001, 16:624–25).
    [Show full text]